MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

The 2nd Annual Horrific State of the Horror Film

Last year, I wrote a column about the state of the present-day horror film and how it had been ages since I was truly scared by one. Not a whole lot has changed; here we are a year later and we’ve watched the fifth installment of theSaw series notch thirty million bucks in its opening…

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Kurt Kuenne Director of Dear Zachary

“I wish that I had never had the opportunity to make this film. I wish that my friend Dr. Andrew Bagby was alive and well and that I was blissfully ignorant of the lessons I’ve learned along this journey. .” – Kurt Kuenne Listen to Noah Forrest Podcast with Kurt Kuenne

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Noah Emmerich Star of Pride and Glory

“Your brother is in a bad hour here and the only way through this is you.” – Pride and Glory Listen to Noah Forrest Podcast with Noah Emmerich

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Clint is a Changeling

I seem to be in the minority when it comes to Clint Eastwood over the past decade or so. The man is, of course, a living legend who has enormous talent both behind and in front of the camera. However, while his last few films have gotten lots of acclaim and awards attention, they just haven’t…

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The Secret Life of Dakota Fanning

This is a difficult column to write because it’s about some delicate issues like exploitation of minors and minorities, but I definitely believe I’m giving these things more thought than the makers of The Secret Life of Bees. It’s a fine line when you’re making a film about exploitation and racism to not actually be exploitative…

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Penelope Cruz

“Beautiful women are invisible; we’re so dazzled by the outside that we never make it inside.” – Elegy Listen to Noah Forrest Podcast with Penelope Cruz

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Mike Leigh Makes Me Happy (Go Lucky)

I’ve never been a particularly big fan of Mike Leigh’s work. While many cineastes worship at his altar, thoroughly engaged by his down and dirty realism tinged with blue-collar social anxieties, I found myself somewhat disengaged by his films. I distinctly remember a friend of mine recommended Naked to me, telling me it was one of…

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon